What interests you the most about your specific division or program at SCA? 

What I’ve loved most about the Master’s Film & Television Production program is how collaborative it is. You’re constantly working with classmates across different disciplines—directing, producing, cinematography, production design, sound, and editing—and it really feels like you’re already in the industry. I’ve also really valued being able to work closely with faculty and mentors across projects and receive personalized feedback, which has been incredibly helpful in shaping and strengthening each film as it develops. At the same time, there’s a strong push to figure out your own unique voice as a filmmaker. That’s been especially important to me because the stories I’m telling are so personal and rooted in identity, culture, and family. It’s that mix of collaboration, mentorship, and individuality that’s made the experience really meaningful.

Why did you choose SCA?

I chose SCA because I reached a point in my journalism and photography work in Minneapolis where I wanted the stories I was documenting to live in a more cinematic, narrative form. I wasn’t just looking for technical training; I wanted a place that understands the importance of cultural representation and would push me to tell those stories at a larger scale.

The industry access is definitely a draw, but what stood out to me most was the community. Being in the heart of Los Angeles, you’re not just studying film in a vacuum—you’re living in it. You’re surrounded by like-minded people who are equally passionate about storytelling and building a creative community. For me, SCA felt like the right place to grow into someone who tells stories in a more intentional, film-driven way and to start laying the foundation for the career I want after graduation.

What has been your biggest challenge so far in your time here?

Probably learning how to balance everything. As a director, writer, and producer, filmmaking is already intense, but when you’re working on stories that are personal, it adds another layer. You’re being creatively vulnerable while also managing all the practical sides—crew, schedules, budgets, and deadlines. On top of that, maintaining a healthy balance between work and personal life has been a real learning curve. The workload can be demanding and it’s easy to stay in “production mode” all the time, so I’ve had to become much more intentional about how I manage my time and energy.

That balance hasn’t always been easy, but it’s taught me a lot about discipline, communication, and how to lead within a team while still taking care of myself. It’s also helped me stay grounded in why I’m telling a story in the first place, rather than getting lost in the logistics of the process.

What advice do you have for prospective students looking to apply to SCA?

I’d say try to be really honest with yourself about the kinds of stories you care about and why they matter to you. Technical skills are important, but what really stands out is your perspective—the specific way you see the world. Don’t be afraid to be vulnerable or take risks in your application; the work that feels most personal is usually what resonates the most. 

When I applied, I didn’t just focus on film. I shared my background in journalism, my love for analog photography, and my experience teaching first-graders Arabic. My identity as a Syrian-American Muslim informs the stories I tell and those lived experiences—even the ones that aren't adjacent to film—shape how I view the world. That’s what I think SCA really values: your unique lens and the life experiences that inform your storytelling. 

Instead of trying to guess what people want to hear, just lead with what’s true to you. And once you’re here, lean into the people around you. Some of the most meaningful parts of the experience come from your peers; they become your collaborators, but also your support system in a lot of ways. Those relationships are just as vital as anything you learn in the classroom.